Learn a time-saving workflow for modeling with ZSpheres and building complex organic models using production-applicable tools and techniques. Contains over 4 hours of project-based training for artists modeling with ZBrush. Popular highlights include: creating ZSphere cages, adding ZSpheres symmetrically, transforming ZSpheres, creating insets with ZSpheres, using ZSphere magnets, converting ZSpheres to geometry using adaptive skins, sculpting detail into meshes, sculpting fine detail with alphas and strokes, selecting geometry using polygroups, deleting geometry, re-drawing topology, using a mesh to start new topology, projecting existing detail onto new topology, creating fitted accessories with topology tools, creating accessories with ZSpheres, extracting geometry from existing meshes, appending SubTools, using SubTool Master to manipulate SubTools, creating geometry using ZBrush primitives, using masks creatively with primitives, using deformers, converting primitives to polygon meshes, and posing with Transpose and Transpose Master. Software required: ZBrush 3.1 and up.
Justin thrives as a lead modeling author at Pluralsight. Growing up, Justin found a deep interest for the computer graphics industry after watching movies like Jurassic Park, Toy Story and The Abyss. His ambition would lead him to work at Sony Imageworks in Los Angeles on movies like Monster House and Surf's Up. Justin has also had numerous articles, tutorials and images published in 3D World and 3D Artist.
Introduction and Project Overview [Autogenerated] hi and welcome to Z Sphere modeling in ze brush presented by digital tutors. My name is Justin, and I'll be your instructor as we model and sculpt an alien insect from scratch within Z brush. Now, Z brush is a great tool for taking existing geometry exported from programmes like Maya excess I, and allow you to sculpt a tremendous amount of detail into those models. For a variety of reasons, however, you may want to build your model completely within Z brush. Z's fares will allow us to do just that. Using Z's fares will build up a model that weaken skin in order to create a base for our sculpted detail. Now, once we've done some scoping on, our creature will use a few rigging and topology techniques. Toe actually redraw the models edge flow to better match our detail. From there, we'll finish the scope and look at a variety of ways to build accessories for the character. All right, let's start by taking a look at some of the basics of working with dizzy spheres. Open up a Z brush here and he's got a kind of a default layout, so to access our disease fears were going to simply go over to our tool palate. Click on a tool and you're gonna find it there at the end. It's kind of two toned red sphere labelled Z spheres were going click on that that makes interactive tool. We can draw it onto the canvas just like we would any other tool. So go and drag that onto the canvas. All hold down shift kind of snapped that to, ah, to the access there. We'll go ahead and hit the tiki to inter edit mode, and now we're able to kind of move around and rotate around this Z sphere as if we were using any other tool. Go and turn off our GBS. We don't need that, all right? So Z's fears are gonna be really useful in creating measures here within zebra. So rather than having to bring in a mash from on external program, like my exercise, we can actually block in shapes very quickly here in ze brush so that we can then begin sculpting so we don't have to take the time to go out and pull geometry. And so let's look at some of the things that we can do to manipulate these East years so you can move this and scale it so I can scale this down. Can move it around. You can rotate it. You do all of those things all right and draw mode. We can also start to add disease fears to this fear to create chains and different shapes that were able to make here within zebras. So we go ahead and click on our disease free can see that red line highlights it. So that's the current disease fear. And then you can see an either green or red dot there on the cross hair. And that's indicating where the next disease fear will be drawn. Okay, so let's go ahead and connect disease fear. Bye. Just click on the Z sphere. You can see that that now creates a newsy sphere. And as I dragged that size changes and you can see it also creates all of these link spheres. Okay, so we've got the parent disease fear and in the child's e sphere connected by these three links fears. Okay, so that's now connected. We can go ahead and add another one on this side if we shift click fun here. That's gonna add another disease fear. That's the same size as the parent case. All I do is shift. Click, and I didn't drag or anything. It just pop it right in there. Okay, Do that. If I drag on this Z sphere and then hit control, it's gonna snap that disease. Fear to be the size that my draw size is currently set to. Okay, Taken. See, Right now, this is my current draw size of ice. Move that down by click and drag and then hit control. It's gonna snap to the current draw size, which is this size right here. All right, So keep that in mind. Shift will create Aziz for that's the same size as the parent and clicking and then heading control will create Aziz for that's the same size as your draw size. Okay, if you would like to delete Aziz, fear can simply holding on Ault and click on that cease fair and draw mode to delete those. Okay, dream the delete those child spears. Now, if you want to insert a Z sphere in along this link somewhere, all you have to do is click on one of the links fears and that will turn it into a Z sphere. If you want all click on that, it will turn it back into a lynx fear. Okay, so keep that in mind. All clicking on a child's fear will delete it while while clicking on a link sphere will turn that into his east fear. And then you can click on that just to turn it back into a link. Okay, so we have these drawn out. Now, how could we move these around? Well, I should be the same way that we moved a parent. We can now move the child so we go to move, grab that Z sphere and then pull it out. You can say how that link changes, OK, It kind of stretches out and you can see there are now more links. Fears belong here. Can see you get this kind of indication of where that is, using what looks like sort of a bone right there. I can go ahead and add another spirit here and move this up so I'm clicking on disease, fear itself and just moving it around. You can see how that affects everything. It leaves the other spheres untouched basically and then just moves. Those connections of those leaks fears. If you click on a link chain, you can see I click along this chain. You can see how I can now move it and it moves everything underneath, basically. Okay, I could move this chain and it moves, All right. If I click than salt and move around, you can see that I'm now I'm moving. But I'm not stretching anything. Everything is staying proportional, and I'm just able to move that around. It's kind of Ah, we think of as maybe an armed joint or some sort of a joint that's not going to scale it all. All right, I can also rotate, so we gotta rotate. I can rotate the Individual Z's fear and that rotates the link below. There. Around that Z sphere, I can click on the chain and rotate that around. Same thing with this rotates the chain taking very quickly can oppose things out. You've got joints and things in there. All right, so you can also scale. So we look at scale. If I click on Aziz, fear you can scale that individual sphere scales it up and down. But it leaves the other spheres alone. If I If I click on the chain and actually scales that in closer, See, it scales the whole chain in okay. And if I all click, you can actually inflate and deflate. So rather than actually changing the the size and the length can actually make that skinnier or thicker. So that's gonna be very useful if you're working with. You know, if you have pipes and things like that, they're gonna be really hard to kind of scale down each individual's these fair. You're able to make those thinner brain very quickly. All right, so go ahead. Title that back up a bit, okay? And I'm gonna delete connected draw mode and delete these child Children of this parents fear. All right, so one of the other things that we can utilize when we're drawing out ours ease fears, is actually using symmetry. And if you've done any sculpting and Z brush you're probably familiar with symmetry can hit the the key's corresponding through the axes X y z. You can also go to transform and say, activate symmetry and then you're able to choose whether you want X cemetery. Why? Cemeteries e symmetry or also radial symmetry which take a look at X symmetry first. So you can see now I've got these two corresponding circles right here. So now if I add these fears, it's gonna happen across the X axis. You'll notice when I get close, that'll snap to a green circle, and that's just gonna add one right along the center so you'll know when you've got your your points lined up when that snap Still a little green circle. Okay, One thing that is really cool is to be able to use radial symmetry. So it's going to turn on why symmetry and radio with a count of eight. And now if we take a look at this, I can see that I've got these points all the way around. And now I can go in and add Well, Z spears right in there can add another one, get my move tool and start to pull these out. We pulled those back in medial satellite or something, but can see how that's mirrored all the way around. And you can change that count. Change it radio account, and you can make that go around the other axes as well. Not just in this instance. We're going up and down the Y axis. You see Honda. You can see where all the dots are on there. But you know the other way as well, just depending on what access you choose. All right, so some of those were some of the basic basics with these fears. One other thing that I want to show you that will kind of compliment what we're going to learn in the next lesson is in setting Izzy's fear. So let me go ahead and turn off my symmetry here. Turnoff. Activate symmetry. Go back to draw mode and let's go ahead and add a Z sphere upon the top here, okay? And I select the move tool and let's go ahead and let's say we want to create a pocket in here rather than geometry that's sticking out. We want something to be inset into the top. What we're gonna do is move this down, and at some point those links fears will disappear and you'll get sort of what looks like an inside out sphere cake and still see the curvature right there. But if you look at it from the top. It looks like that's inset. It actually looks kind of just like a hollow sphere. And what that's telling you is that that Z sphere is now inset into this parents fear. Okay. And so what you're going to get with the geometry is something that is hollowed out in that same way. All right, so we've got our Z spheres built out. We've looked at how we can as these fears, how we can move, scale and rotate and connect those together. You can also come in here. And if you remember, we converted that to a Z sphere along the link, and then you can go in and add Z spheres out from that link guy. So keep that in mind. You can only add newsies fears to existing Z's here. So if you want to come off of one of these links, you just need to convert that into his e sphere. Okay, so this is kind of the first step in getting our geometry, our base geometry. Our goal is to get based geometry here within zebras that we're able to sculpt. So this is kind of the first part of blocking this in and we'll go through the whole process with our actual project. But I just want to show you kind of the basics of working with disease. Fears will get a little bit more time to practice as we go. All right. So in the next lesson, let's look at how a couple of ways that we can actually get geometry from cages like this and from pieces like this, so that we can begin to sculpt those we're gonna be using something called adaptive skinning, and so we'll take a look at that in the next lesson.